Physical Understanding and Graphical Score composer speaks own works

身体と図譜 自作を語る
Physical Understanding and Graphical Score composer speaks own works
中村典子
NAKAMURA Noriko

[11th November,2015 at Room 4006,Mirabelplatz 1 Universtät Mozarteum,Salzburg]

序:身体性の多義的変態変容への道程 Introduction:The way for physical polysemous metamorphosis
1:地史の身体に及ぼす影響 1:The influence from ground history to embodiment
2:登場−領域越境 2:The appearance -crossing field
3:古音韻的造型−初期作品群 3:Ancient phonological molding - early works
4:領域越境の交差地点−中前期作品群 4:The crossing point of crossing field - middle early works
5:身体と図譜の時代−中後期作品群 5:Physical understanding and graphic score - middle late works
結:地と真に結ぶ Conclusion:The true fruition from ground
*全作品一覧 Complete works lists

Guten Tag, sehr geehrte Damen und Herren, Professoren und Studenten am Mozarteum Salzburg.
Ich heiße NAKAMURA Noriko, bin Komponistin und angestellt an der.Stadtische Universtät für Künste Kyoto,Facultät Musik Ich möchte mich sehr für Ihre Einladung bedanken.
Insbesondere möchte ich mich bei *Herrn Prof. Febel bedanken, der diesen heutigen Vortrag möglich gemacht hat.

In vergangenen Mai kamen Herr Prof. Febel und Herr Prof. Kleiner an unsere. Stadtische Universtät für Künste Kyoto,Facultät Musik Die beiden Professoren, Frau Prof. Kohama und ich, wir sind beide angestellt an der musikalischen Fakultät KCUA, haben ein Austauschkonzert mit Studenten und Professoren dieser beiden Hochschulen organisiert. Das zugehörige Programm stand im Zusammenhang mit ostasiatischer Literatur und Philosophie.

Dieses Mal besuchen Prof. Kohama und ich Ihre Hochschule, und organisieren als ein Teil des Austauschprogramms zwischen beiden Schulen auch ein Austauschkonzert hier im Mozarteum, worauf Sie sich bestimmt freuen werden.

Auch am internationalen modernen Musikfest "Die Gegenwart des Orchesters in Asien" an der KCUA wurde in vergangenen Mai ein Duett für Klavier von Prof. Febel erstmalig in Kyoto aufgeführt. Prof. Kohama spielte dabei ein Werk für Sopran und Koto vor und hat an einem Symposion gemeinsam mit Komponisten aus China, Taiwan, Hongkong, Singapur, Italien und Japan teilgenommen und dabei seine Meinung über ostasiatische Instrumente und Komposition aus der Sicht der musikalischen Unterschiede zwischen Ost und West geäußert.

Als nächstes ist jetzt in Planung, dass ein neues Stück für Kammerorchster von Prof. Febel im Mai 2015 in Kyoto uraufgeführt wird.

Nun möchte ich mit meinem Vortrag beginnen.

モーツァルテウムの先生がたと学生のみなさま、こんにちは。このたびはお招きありがとうございます。本年5月にザルツブル􏰉モーツァルテウム大学と Febel 先生がKleiner 先生と京都市立芸術大学においでくださり、小濱先生と学生と教員作品による交換演奏会を東アジアの文学と哲学を基にしたプ ロ􏰉ラムで行いました。今回は両校の交流協定推進事業として小濱先生と私が訪問させていただき、 その同じ演奏会を Mozarteum を先生がたとさせていただきます。また5月開催の京都芸大での国際現代音楽祭「アジアの管絃の現 在」でも Febel 先生の Piano duo を私達で演奏し、小濱先生は箏とソプラノのための作品を演奏、シンポジウムに中国、香港、台湾、 シン􏰂ポール、イタリアと日本の作曲家と共に出席くださり、東アジアの楽器との創作について東西の音楽の差異からご提言いただきました。そして来年は Febel 先生の室内管弦楽新作を私達で演奏する準備を進めております。それでは講演を始めさせていただきま す。

Hello,I am a composer NAKAMURA Noriko of Kyoto City University of Arts.Thank you very much for the invitation,and l thank you so much for Prof.FEBEL who gave this lecture time.In this May,Professor Febel and Professor Kleiner were coming to Kyoto City University of Arts,and Professor Kleiner and Professor Kohama of KCUA music faculty,we held exchange concert with students and professors in Mozarteum and KCUA ,which is the program on the eastern literature and philosophy.

In this time,from KCUA,Professor Kohama and I came to Salzburg,and same exchange concert hold in Mozarteum.Please look forward to concert.Besides,also in May,we held international contemporary festival "Present of Orchestral Asia",we kyoto premiered Professor Febel's piano duo,Professor Kohama performed the work for soprano with koto,Professor Febel participated to Symposium round table with composers in China,Taiwan,Hong Kong,Singapole,Italy and Japan,and he gave his thought for the creation western and eastern instruments from the viewpoint of difference in east and west.In next May,we are preparing to premiere Professor.Febel's chamber orchestra work.I start my lecture.

このたび自作についての考えを作曲のみなさまと共有することは大いなる喜びです。
It is great honor to share my thought with students and professors in Mozarteum.
そこで私の自作から特に「身体と図譜」を通し、その源となる考えを音源と楽譜と演奏を通してお伝えいたします。
In this time,I would like to make a speech about the physical understanding and graphicsl score through looking at scores and listening music or own performance.
これらは、固有の身体性が音楽に現れて総合される現在までの道程です。
This is the way of synthesis from the musical appearance of proper embodiment.
これら作品群を近代東アジアでの創作のひとつの事例として、
About these works,it is as a case of creation in modern east Asia,

初期作品群での西洋楽器とベル􏰁カント発声での東洋世界観による造型
the molding in western instruments and bel canto vocalization by eastern view of the world
中前期作品群での日本伝統楽器と管絃楽等空間思考を通しての敷衍
the expound through space thinking in Japanese traditionnal instruments and orchestra
中後期作品群での身体と図譜を通した新たな思考からの生命、までを
the life from new thought through physical understanding and graphical score,
独自の機能を持つ音楽のひとつのかたちとしてお伝えします。
I would like to tell a figure of music having individual function.

1:地史の身体に及ぼす影響
1:The influence to embodiment from ground history

私は、第2次世界大戦後20年目の1965年、リュートの東アジア系楽器の琵琶の形をした日本最大の湖の畔で生まれました。
In 1965,just twenty years from World War II,I was born nearby the most biggest lake in Japan,figured like lute,east Asian instrument.

大いなる湖のほとりの広大な水田のなかに杜と宮が散在する、2000年から1500年前大陸からの渡来人が入植し形成した区画が 現在に至るまで同じである歴史深い地域に、私は三十数年住んでおりました。
During thirty and several years I was living in the deepest historical erea where are dotted with little forests and shrines in green rice fields nearby great lake, and were continuing same blocks of rice field since coming people from continent before two thousand to one thousand and five hundred years.

この地域は大いなる自然と豊富な伝統芸能、巫女の鈴舞や刀舞など神楽舞や、 風流踊り花笠踊りの一種である講踊り、大道芸のデロレン祭文の江州音頭に彩られます。
This erea is colored by great nature and rich traditional public performances which is bell dance and sward dance of
shrine maiden slow dance in kagura,group dance of one kind of an elegant dance wearing conical hat adorned with flowers, and street performance Goshu ondo with reading to a divine spirit in a festival, called " deroren" address.

しかし私は、尺八や箏といった邦楽器にはまったく触れることなく育ちました。
Although,I was growing up without touching koto and shakuhachi,Japanese traditional instruments.

僅か2􏰅キロ離れた街道沿いでは、箏や尺八や謡の伝習は行われてはいました。
There was existed koto,shakuhachi and Noh chant singing education in the distance of two kilometers from my house.

一方、小学校には19世紀後半の西洋文化受容以来の􏰃オルガンとピアノがありました。
In other side,there was existed organ or piano since the acceptance of western music in latter half of nineteen century.

東アジアでは近代音楽教育は、主に西洋音楽受容として􏰃オルガ􏰂ン・ピアノで行われます。
In east Asia,modern music education has used mainly organ and piano as the acceptance of western modern culture.

それゆえに私も小学校に通う前から、近所の小学校の講堂で􏰃オルガンを習っていました。
Accordingly,I was learning organ at the auditorium in elementary school before entering elementary school.

その廻りは一面の田圃の緑で、遠くに富士山のような美しい形の三上山が見えました。
Around auditorium were green rice field,and were existed beautiful figured Mt.Mikami as like the Mt.Fuji.

そこでの視覚と聴覚の断絶に関する幼い私の気づきをお話しいたします。
I would like to tell the my notice in childhood about the gap between visual and auditory in there.

私は風変わりな子供で、自ら弾くトニ􏰁􏰆カコードと目前の稲田の風景の間にある強い違和感について誰にも告げられずにいました。
I was strange child,and I could not tell anyone about the strong sense of incongruity with between my playing tonic chord and the green rice field.

両親の与えた絵本のイタリア農村の風景にはヴィヴァルディの四季のレコ􏰆ードが添付されてあり、そのレン􏰂ガと漆喰でできた家並みが一面の緑に点在する絵を見ながら春を聴いていました。
The picture book which parents geve,there was existed the italian village landscape with the record of "Four seasons" by Vivaldi,
I was listening to "Spring" with looking at Italian village landscape which were dotted houses made bricks and plasters in green rice field.

それで、私の鳴らす􏰃オルガンの和音はイタリアの農村の景色とぴたりと合うが、目前の一面の緑の稲田の風景には合わない。
Accordingly,my playing tonic chord was just fitting with Italian village,but was not fitting with green rice field in front of my eyes.

これが私の最も強い最初の記憶です。
This is one of my most strongest first memory in childhood.

田園に隔てられた2􏰅ロ離れた宿場町には父がそこで能楽の謡を習った本陣があり、 他のすべての町と同様の近世日本文化の大きな堆積がありました。
There was existed official accommodation for feudal load and his vassals,where my father had learned Noh chant singing, there is existed the great accumulation of early modern Japanese culture,as like the same other towns.

大人が歩けば半時間の町は、子供にはバスや自転車や車で訪れる幼稚園のある場所であり 子供の歩く生活圏でなかったことがこの独特の気づきをもたらしたことは興味深い事実です。
The town was existed in distance two kilometers from my house, where was the place of kindergarten by coming with bus,bicycle and car,
and was not the living area for child,It was really interesting fact that this notice was brought from this unique condition.

楽譜無しに音を聴き身体で覚え込む様々な芸能は私の精神の奥底へと日々記憶され、その記憶の数々は十数年後の同一性危機によって開かれるまで冷凍されてゆきました。
The traditional public performance was memorized into my soul depth in every day,and these were freezing until the opening day by identity crisis after ten and several days.

折々芸能は宗教と共にあり、中学生のころには天満宮が数千年数百年の大祭となって 特別な巫女舞を演じたことがあり、これは刀舞で、通常の鈴舞と大きく違いました。
These traditional public performances was existed with religion,in jounior high school time, Tenmangu shrine had the great festival of several thousand and several hundred years,and
I performed shrine maiden dance which was special slow dance with sward,not usually bell dance.

テレビやラジ􏰃から聴こえる洋楽を楽譜無しに􏰃オルガンやピアノで常々模倣していましたが、 この音楽は身体が覚えても楽譜への記録再現がまったく不能でした。
I was always playing organ and piano without score and only listening western music through television and radio, although this music could memorize as physical action,but could not writing in the score,perfectly.

この大祭で舞ったおりの気持ちとして、心の奥深いところで感じることには 何故学校を休んで演じなければならないのか、おそらくこどもが舞うのを嫌と言えば 何もかも火を噴くかと想像される日本の農村の少女としてのもどかしさであり、ただちに楽譜に表せない音楽の核が身体の奥の奥へと深く沈んでゆくのをこの時ただただ確かに感じていました。
About my feelings in my bottom of hearts,it was impatient memory as the girls in Japanese village, Although I had understood it as traditional arts, in fact, as my intention of junior high school students,I did not want to dance a sword dance for only hegemony. However, if I expressed my really intension, this special festival would had burst into flames,in that time,I had felt to sink the core of music that did not express on the musical score,into the depth of my body.

この2歳から14歳の折りの描き切ることのできない不可思議な時空の記憶というべき舞の記憶が、後に私を作曲家としたと感じます。
I can not draw when from 2-year-old 14-year-old mysterious memory and memory of dance should say of space-time,
and I feel that I became a composer by this memory.

2:登場−領域越境
2:The appearance - crossing field

この隠された地の記憶のすべてを描いた女声、ピアノ、打楽器のための音楽Noli(1989)が私の国際的なデビュー作となりました。
These hidden ground memories were described into "Noli" for female voice,pianoforte and percussion,it become my debut work.

作曲は1989年、24歳でした。1989年はフランス革命から200年目の天安門事件とベルリンの壁の崩壊の年です。
It was composed in 1989,i was 24 years old.It was Tiananmen square incident and the collapse of the Berlin wall,just 200 years from French revolution.

ノリでは生地に隠された史実かつ自身の名でもある[典、宣、範、法、紀、律]から発する同発音の字義多重性が初演26分の長大劇的構造を呼び起します。
About "Noli",it was structured by the multiple meaning of a word,it is expressed at Chinese letters in the following of also my name
典[ritual]宣[declare]範[model]法[law]紀[century]律[rhythm],and it will be occurred grand and structure of 26 minutes at premiere.

ノリがNoriではなくNoliであるのはベルカ􏰁ント発声と非伝統楽器の西洋音楽家達によるNoli me tangere[我に触るな]であり
地に隠された歴史との邂逅の非言語的詩劇として、地史的真実の探求の結果としての音楽伝統の 領域越境が核であったためです。
"Noli" is not "Nori",because it was suggested as "Noli me tangere" by bel canto vocalization and western instruments, and as the nonverbal drama written in verse for meeting with hidden ground history,it was the core of crossing field of traditional music through the research results.

Noliは1989年京都初演を起点に東西表現者達により東京のバレエ団の舞台作品ともなり 国連憲章50周年のアメリ􏰁サンフランシスコオ􏰆ペラハウス連続公演以来、韓国の創作伝統舞踊舞台作品としても 日韓両地で連続公演され、現在もそれが継続中です。
"Noli" was started from the premiere at Kyoto in 1989,it became the stage of Tokyo Festival Ballet,and it was performed three times in San Fransisco War Memorial Opera House as the UN chapter 50 anniversary, moreover it became the Korean traditional creative dance stage and it is continuing,also in present time.

*それでは(Noli1989)の前半と後半の部分を楽譜と共に聴いていただきます。
Please listen to the former part and latter part of Noli with score.

(Noli1989)に到達したのには、以下の予備が大きかったと感じています。
About this reaching,I felt the existence of several preparation.

第1には、大学受験勉強時にラジ􏰃で聴いて興味を持ち、取り寄せた京都大学韓国文化研究会作成の音楽􏰁セットテープを よく聴いていたことです。
At the first,I was listening to Korean traditional music and Korean popular song very well in my studying for entrance examination,
because I was interesting these song at radio broadcasting and I brought the cassette tape from the Korean cultural study group at Kyoto University.

第2に、大学研究室に多数揃えられていた尹伊桑作品の楽譜と師廣瀬量平教授からご友人姜碩煕教授のBullの楽譜を作曲レッスンで 研究したこと、
大学院入学の年に韓国音楽研究者の櫻井哲男先生の集中講義を受けたことです。
At the second,I studied YUN Isang's score in laboratory of composition,and I studied with Prof.HIROSE Ryohei about
his friend composers Prof.KANG Suhki's score of "Bull" and at graduate school,I studied Korean traditional music from musicologist Prof.SAKURA Testuo.

余談としてノリ初演の数ヶ月後、当時Stuttgart音楽大学で現在こちらMozarteum大学のAdriana Hölszky教授が、 ドイツの女性音楽学者と女性音楽出版社FLORE社長と東京のゲーテインスティテュートへお出でになられてお会いしました。 その際の日本側パネルが音楽学者船山信子教授と作曲家・音楽学者の増本伎共子教授と作曲家・ピアニストの三宅榛名氏(のちフェリス女学院大学教授)でした。
In addition,after the premiere of "Noli",I met Prof.Adriana Hölszky and musicologist and music publisher FLORE president in Tokyo Goethe Institute.In that time,musicologist Prof.FUNAYAMA Nobuko,composer musicolosist Prof.MASSUMOTO Kikuko,and composer pianist MIYAKE Haruna(Prof.of Ferris University).

私はこの後、師廣瀬量平初管弦楽作品の「チェロ協奏曲《悲》(トリステ)の研究」論文完成直後、 京都芸大音楽学部派遣留学生第1号として大学院からブレーメン芸術大学へ留学しました。
After completion of the master thesis "The study of HIROSE Ryohei's Cello Concerto'Triste'",I started to study in Hochschule für Künste,Bremen as the first student of Kyoto City University of Arts.

廣瀬量平教授が審査員時にイタリアのバレンティノ・ブッキ􏰅国際作曲賞の覇者にHölzsky教授を選ばれており、それで廣瀬量平教授がHölszky教授を語法集大成の音楽劇室内オ􏰃ペラ「ブレーメンの自由」の京都芸大での講演に招かれ、Hölzsky教授がお父様と京都のゲ􏰄ーテインスティテュートと京都芸大に来られました。
Prof.HIROSE selected Prof.Hölszky as the winner of Valentino Bucchi International Composition Competition,

he invited her the lecture of her compositional compile " Bremer Freiheit" in Kyoto City University of Arts,she and her father came to Kyoto Geoethe Institute and KCUA.

半年後、東京でお会いした先生達とハイデルベルク􏰀とシュトゥット􏰂ガルトの音楽祭へ招かれ、ハイデルベル􏰀ク大学音楽学研究所での講演と両都市での上演があり、そのおりノリ上演が􏰆コンディションから延期されたため、 私は日本の女性作曲家について講演し、結語に自作ノリを紹介することとなりました。
After half year later,we were invited to the festival in Heidelberg and Stuttgart,festival consisted of the lecture in Haidelberg University and concerts and in Haidelberg and Stuttgart,"Noli" was postponed the performance by performer's condition,and I introduced"Noli”s at the end of my lecture "Women Composers in Japan".

3:古音韻的造型−初期作品群
3:Ancient phenological molding - early works

このデビュー作の後、初期作品群は古アジア的音韻から汎な原初の古音韻を持つ言語からの独自造型へ移行します。
After this debut work,about early works,these changed to individuality pan-musical cosmopolite & localization original molding through ancient phonological idea.

ここで確認するべき事項としては、初期作品群はすべて西洋楽器への創作であり、 かつ描かれる世界が著者生地の東アジアとしての滋賀という地からの世界認識の様態であり、 その一連の音楽が身体性を強く喚起するところがあるためか、ほとんどの作品がデビュー作同様舞踊化舞台化されたことです。 About the matter to be confirmed,the early works,these were composed perfectly for western instruments with bel canto vocalization,and in the same time,
aout described world in works,it were the recognitions of world from Shiga living composers in east Asia,in addition, these all works were preformed with dance stage on teaditional dance or modern dance,as like debut work.

地名の多義性からの音像化(Kasanuhi重陽[笠縫]1991)[シアターピースでの朗唱的造形による舞台化]
Sound modeling from the multiple place name- 重陽[笠縫]Kasanuhi1991(theater piece stage with vocalized performers)

記紀の初源的言語の背景世界を捉えた原宗教劇(Navi靡[奈備]1992)[モダンダンスによる舞台化]
Mystery play by grasping the backstage of original primary language-靡[奈備]Navi(modern trio dance stage)

万葉歌の聖なる変容としての能楽的劇化(Sakura聖[櫻]1993)[能舞台でのballet化及び全米公演]
Noh musical dramatization as sacred metamorphosis on Manyo[ten thousand leaves]poetries-聖[櫻]Sakura(Noh ballet stage,tour on U.S.A.[9 places])

十二態の水による創世記(Aqua閼伽1994)[モダンダンスによる舞台化]-Mozarteum& KCUA交換演奏会で演奏
Genesis by twelve water metamorphosis-閼伽Aqua1994(modern solo dance stage) just performance in exchange concert of Mozarteum and KCUA

胞子的観察の介在による東アジア圏文化的旅巡(Mure邑1996)[ステージダンスによる様々な舞台化]
East Asian cultural surrounding intervention on spore micro observation-叢[邑]Mure1996(group dance stage with visual art)

東洋固有旋律型による無伴奏女声三部作(Mana愛1995,Haru春1997,Hana華1998)[能舞との舞台化]より
Accompanied female voice trilogy on eastern proper melodic moldings-眞[愛]Mana1995,張[春]Haru1997,放[華]Hana1998(Noh slow dance stage)

*Kasanuhi、Navi、Sakura、Mure、Manaを楽譜と共に一部聴いていただきます。
*Please listen to several parts of Kasanuhi,Navi,Sakura,Mure,Mana with scores.

4:領域越境の交差地点−中前期作品群
4:The crossing point of crossing field - middle early works

中前期は邦楽器としての初表現への探究として箏二重奏(Kurita1998)により始まりました。
It started from the work of koto duo "Kurita 1998" as the research for first expression to Japanese traditional instruments.

近世邦楽の箏楽に前記のように自らとの接点を見つけづらくていたところ、 東アジア音楽研究の一端として韓国伝統音楽に現地で多数触れて箏に大陸の縁を感じ、 身体性の違いを邦楽器へと移入することで自国楽器への遠く厚い扉をくぐりました。
I was hard to finding contact points between koto as the early modern koto music and myself, and I touched a lot of Korean traditional music;Gayagum and I felt the relation ship with

them and koto,I could open the heavy grand door of instruments in own country by naturalizing the physical difference to koto.

この(Kurita1998)が尺八と二十絃箏の二重奏(Imose2001)を生み、同作異曲6つを生じました。 This"Kurita1998"caused "Imose2001"the duo for shakuhachi and 20gen koto,and 6 pieces that has the each difference, was born of Imose.

ク􏰀リタ初演者の一方の演奏者夫妻のミュンヘン初演への委嘱で作曲した(Imose2001)は 演奏を聴いたoboe奏者の委嘱で日本伝統楽器尺八と二十絃(Kagami2004)から oboeとpiano(Hata2007)へ二重奏の片方づつ徐々に位相を変えて双方西洋楽器編成となると 􏰇ルンのフルート奏者と日本の十七絃奏者の京都初演のための 十七絃十三絃両面遣いとAltofluteへの編作(明月楽壱の巻 BrightMoonMusicVol.12008)となり かつ打楽器を加えた三重奏の雅楽版(星海波SEIGAIHA2009)ともなり
ついには箏歌(明月楽弐の巻Bright Moon Music Vol.22008)となって唯ひとりでの演奏を可能とするに至ります。
Imose 2001was composed by the commission for München premiere of the performers husband and wife who was the premiere performer of Kurita,
the oboe player listened to Imose and he commissioned the arrangement for oboe and 20gen koto(KAGAMI 2004) and oboe and piano(HATA 2007) it was changed each partners in duo and reached western instrumental duo,it was changed again to duo works "明月楽Bright Moon Music Vol.1 2008" for Kyoto premiere by 13+17gen koto and alto flute which was performed by the flutist from Köln,and changed again to trio "Gagaku" version "SEIGAIHA2009" with percussion,at last,it was changed to Koto-Uta solo version (singiing with koto by one person).

*それでは(Kurita1998)と(明月楽弐の巻Bright Moon Music 2008)を楽譜と共に一部聴いていただきます。
*Please listen to the "Kurita1998" and "Bright Moon Music Vol.2 2008.

弦楽器群を欠く三管編成管楽(内なる湖2000)から、同期の友人と作曲の師の追悼曲である 十七絃箏十三絃箏両面遣い独奏と弦楽合奏の協奏曲(誰渡洸河2009)に至るまで、 中前期は邦楽器と唄、邦楽器に交差した管絃楽やシアターピース系大型作品群に彩られます。
About middle early works,form triple woodwind orchestra except strings (inner lake 2009) to concerto for 17gen with koto and string orchestra(誰渡洸河...goes in the river of light...2009),it were including large ensemble of Japanese traditional instruments and orchestra or theater piece.

個人的な状況としては父が亡くなり始まった中前期の中盤で 二年介護した祖母が亡くなって自身の難病罹患と介護と闘病中に中期が展開され、 難病は線維筋痛症で全身の恒常的な激疼痛とこわばりで意識的覚醒に七年余という状況が 構成としての図譜からの創造へと至る中後期作品群が喚起されたと感じます。
As the private condition,middle early works,these were started with my father's death and these were developing during the home care for grandmother in several years and falled painfull disease "fiblomyalgia" since 2007,accordingly,I had to consciously awakening in stiffness and permanent super pain of the whole body. It is in seven years and over.

しかしこの中期の核となるのは小さな一編の子守り唄(川のほとりのこもりうた2001−07)であり これらすべてへのまなざしの源の消失点であると感じています。
Although,I feel that a little lullaby 川のほとりのこもりうた 2001-07 consisted the core of middle early works, as the vanishing point for all eyes at origin.

1998年アマチュア􏰈ギタリストでもあった父が62歳で亡くなり、2001年夏ブレーメン近郊Sykeでのアーティストインレジデンス中、 生前父には唄のひとつもつくることもできなかったのでハンブルク􏰉のピアニストの友人へ子守唄を送ったところトイピアノCDに収録してくれました。
At the summer in 2001,it was composed for my friend German pianist & composer in Humburg ,during arartist-in-esidence at Syke nearby Bremen ,
because I could not compose any works for father who was an amateur guitarist,and he died at the age of 62 in 1998.She recorded this lullaby for her CD for toy-piano with electronics.

レジデンス中に911が起こり帰途フラン􏰀フルトの空港でサーバーがダウンし、8時間で大阪帰着するところがさまざなな飛行機に割り振 られて 中国機で北京-東京−京都から故郷滋賀でのこの子守唄の􏰈ター初演の演奏会まで三倍の時間をかけて帰国帰郷し、間に合った記憶 があります。
During residence near Bremen,it occurred 911 in New York,on my returning to Japan at Frankfurt airport,the computer sever system was broke down,travelers were assigned various flight companies,I was assigned Chinese air line and I returned for presence to the concert for premiere of this lullaby by guitar at homeland in Japan with triple duration 24 hours.

*それでは、邦楽器と西洋楽器群の協奏曲(誰渡洸河2009)と(川のほとりのこもりうた2001-07)をお聴きください。
Please listen to concerto for 17gen with koto and string orchestra(誰渡洸河...goes in the river of light...2009) and riverside lullaby2001-2007 toy piano version.

5 :身体と図譜の時代−中後期作品群
5:Physical Understanding and Graphical Scores -middle late works

翌2010年の最初の図譜(Hokahi 2010)で、身体と図譜の中後期が始まりました。
In next 2010, by the first graphic work"乞[壽]Hohahi2010",entered the period of physical understanding and graphical score. (乞[壽]Hokahi2010)は国際現代音楽協会日本支部である日本現代音楽協会での現代打楽器奏法レ􏰀チャーのため作曲し、 京都文化博物館でのclumusica定期公演で初演しました。
Hokahi was composed for the contemporary percussion lecture of the branch at Japan in ISCM, and it was premiered
at clumusica subscription concert in Kyoto Cultural Museum. clumusicaはclumsy(不器用な)とmusica(音楽)からの造語であり、 研究室に拠を置く同時代音楽創作上演団体として、中村典子・清水慶彦、増田真結の三人による共同主宰で活動しています。 "clumusica”is a coined word from clumsy and musica,and clumusica is in Nakamura lab as ensemble clumusica.
We have activity by three persons,collaborative organizers of NAKAMURA Noriko,SHIMIZU Yoshihiko and MASUDA Mayu.

Hokahiはそこに載せるすべてを運ぶ作用を持ち、 初演以来共演者が単独から管絃楽に至るまでの様々な版である交差作品を連続的に産み、それがいまも継続しています。 Hokahi is the carrier having functional effect and it carries concerning all,and it produced duo with various performers, and solo or duo with orchestra as crossing point with all phenomenon,and it is developing,in also pressnt time.

*それではHokahiを作曲者により演奏いたします。(所要時間7分)
Please listen to Hokahi2010 by composer's performing.(duration:7 min.)

図譜をご覧ください。
Please look at graphic score.

1円から7円はそれぞれ60秒を表し、時計回りに進行します。
About time,it is expressed 60 seconds at each 1st circle to 7th circle,and it progresses in clockwise.

1円から6円の音響の配置については剛柔交互の響、7円は剛柔交差の抱容の響です。
There are hard sound and soft sound at 1st circle to 6th circle in turn alternately,and in 7th circle, there is the both holding soft and hard sound in one circle.

それぞれ60秒の円形譜が対応する対極点となる時間に関連を持ち、循環する意匠として時を刻みます。
About this circulative graphic notation,there is recognized the both time of opposite point with original point, it is beating time as the circulating design.

七つの円あるいは八つの円で構成されたHokahi2010は、original version
solo version,Kyoto premiere version, Nagasaki-Hiroshima version(20110226-20111022,どちらも2011年)といった様々な版を持っ ています。
Hokahi has various versions as like original version,solo version,Kyoto premiere version,Nagasaki-Hiroshima version(20110226020111022).

第二次世界対戦では日本の敗戦直前に、原子爆弾投下の広島と長崎で60万人の市民が被爆死しました。 Just before the closing of World War II, six hundred thousand citizens were killed by atomic bomb in Hiroshima and atomic bomb in Nagasaki.

長崎と広島の町でのホ􏰁ヒ上演にはそれぞれ独自の随奏者があり、それぞれversion初演時に行った 水平と垂直の随伴をHokahiは図譜へと留めています。
At Nagasaki premiere and at Hiroshima premiere,there were existed own accompanists,in graphic score, their existences have described with horizontal circulation and vertical circalation.

その4種を再度見ていただきます。
Please look at the four kinds of graphic scores.

垂直の随伴Nagasaki-Hiroshima version
無限大のensembleを可能とする個としてのsolo version
原型である水平の随伴Kyoto premiere version あらゆる形態に向かって調整を可能とする具体を載せる基盤original versionです。
These are Nagasaki-Hiroshima version with accompaniment of vertical circulation,and solo version as individual existence ,possible accompanying infinite ensemble, Kyoto premiere version with accompaniments of horizontal circulation,and original version as carrying base all concretely with moderating for all condition.

それはちょうど乗り越えることで美花を咲かせ美果を得る西洋美学とは対極にあり、
あらゆるものと等しく双び、永遠にそれを補完する不戦の誓いを日々新たにする東洋美学にあります。
It consists the contrast from western esthetics which is flowering with fruition overcoming all,and
it is parallel standing with all from eastern esthetics by contesting and competing in every day,every time, it is complement in eternity.

私の在住する千二百年の古都京都の古祭・祗園祭鉾立の日に初演を迎えたHokahiが 日本最古の古都奈良への遷都1300年に10分の1の130年を私達のおります 京都市立芸術大学が重ねて同時に迎えた2010年に誕生したことに長大な時の意匠というものを感じざるを得ません。
In 2010,Nara was at just 1300 years anniversary of capitalization and Kyoto University belonging us,also was at just 130 anniversary,there was existence of the same time overlappingg Kyoto and Nara in ten times. I have felt grand longest design in time strongly,Hokahi was born in 2010.

また私個人としては身体的困難を引き起した2007年7月発症の難病線維筋痛症罹患以来、 2011年の椎間板ヘルニア多発から腰椎すべり症も加わった身体困難の克服に向けて、 新たな身体性への探究から往復循環する表現を待ち望み希求せざるを得ないことは、 まことに自然なことでした。
Also,about private matter of composer,I got the serious disease"fiblomyalgia" in July 2007,and I got Lumbar spondylolisthesis in 2014,by a lot of hernia in lumbago in 2011,
I must to long for circulation with coming and going in the both way,it is natural phenomenon,truely.

これを単純に表現するならば「普通であること以外何も求めない」ということであり、 小さな不均衡を含んだ大きなおおどかな均衡を常に待ち望むものであり、それは、 視覚的に確認することのできる図譜から身体に刻まれた人間の地史的律動を呼び起こす 自然そのものであることといえます。

This experience brought me simple thought "Anything it is not required, except that it is normally", it is hoping usually grand balancing with little imbalance,and it is nature,itself.

つまり自然とは、私にとって自燃する循環の機関であり、それは、 どの時代にもあらわれ且つどの時代にも属さない=個であることの十全の表現です。
For me,nature,it is the circulative organization with spontaneous combustion,or self-ignition,it is the expression of perfection as individual existence with appearance in all and not belonging in any period.

翌2012年の(地韻 MagnaMater2012)では、二十の小円を六段に置いた 百二十の視覚的意匠を一瞥可能な様式として3秒の継続動作により構成し、 東アジア圏の主に歌舞伎音意匠の雪に寄せた変容変態として音響を伴う身体意匠が 六種の発展段階によって劇化して最高潮を迎えます。
About 地韻 Magna Mater in 2012,it is structured as 3 second action maping at each twenty little circles in six lines,and
it become hundred twenty circles visual design as once looking -possible style,it was figured and dramatized the climax by the developing six steps of physical design on sound metamorphosis imaging snow sound in Kabuki in east asian area.

翌2013年の(眞聲vox verum2013)においては音高、音の長さ、音の性質、強弱の四つが3つの円に沿って展開します。 この様子を五線譜へ完全に写し取ったものがこちらです。この音楽も地韻同様、京都形成期の史劇の六段的変容です。
About 眞聲 vox verum in 2013,it is developing on pitches,sound values,sound characters,dynamics along three overlapping circle.
This is the staff notation of "box veruum" transformation by myself.This is the metamorphosis of dramatization in figured capital Kyoto.

これらは五線譜から図形譜と図形譜から五線譜に双方往復可能な完全往復の図譜楽譜の考えです。
These are on the thought form staff nation to graphic score and form graphic score to staff notation,perfectly.
Diese sind auf der Gedankenform Personal Nation grafische Partitur und bilden grafische Partitur zu Notation, perfekt.

*それでは、五線譜→図形譜・図形譜→五線譜に双方往復可能な完全往復の(眞聲2013)を聴いていただきます。
*Please listen to 眞聲vox verum2013,it is perfect both way for coming and going between graphic and staff notation.

この円循環する時間の相を視覚的に均衡させ調整される有機性を抱き続ける意匠とは 自然の一様態に他ならず、自然の一部としての均衡を抱く生命そのものでもあります。
The design holding organism moderated with visual blancing as the part of nature, this time circulation is life holding balance as a part of nature,itself.

つまり生命とは、営々と永続する人間存在の理念を内に向かって深めることによって すべてを循環させる均衡の藝術であると感じます。
In fact,I have felt that life is the art of balancing through circulation in all,by deepening philosophy of lasting human existence,into each fields.

今月末11月30日には(Hokahi2010)と対となる音楽である(斎jae2014)を初演予定でおり、図譜をお目にかけます。
At the end of this month 30th November,it will be premiered(斎 jae2014)

斎 jaeは、2010年の祇園祭鉾立の日に初演した独奏より管絃楽そして無限大の合奏形態を 載する基盤としての30個のりんと小金属打楽器による曼荼羅ホ􏰁ヒと対となる音楽です。
斎 jae is the twin music of Hokahi,which was premiered at the date of decorative float building of Gion festival,as percussion solo with two partners to orchestra and infinite ensemble,also which is based on the mandala by thirty metal percussion "Rin".

ホ􏰁ヒが胎蔵曼荼羅であるのに対し、斎 jaeは金剛曼荼羅であって同楽器で対照の響をとり、 斎は三種の読み[jae zhai sai]三種の独奏[打絃弦]によって光の分光の道程となります。 ホ􏰁ヒ、斎 jae共に対極の意匠を抱容する図形譜と五線譜との完全往復を為しています。
Hokahi is the graphic style in Womb Realm Mandala,and 斎 jae is the graphic style in Diamond Realm Mandala,they consists of contortive sounds in the same instruments,
斎 is decentralized three intonation"jae zhai sai" and three solo"percussion,plant strings, animal strings" in way of light.They also consists perfect going and coming in graphicscore and staff notation in embracing contrastive designs.

金属を綿で鳴らすHokahi、金属を木で鳴らす斎jaeと、二つの意匠は柔剛の対響にあり すべては陰陽の対極を持ち、図譜として視覚的に完全に構成原理を共有可能であり、 ひとたび演奏すればその廻りに生命がたちあらわれて均衡の循環が始まります。
It is contrastive soft and hard sounds between two design of "Hokahi" which is beating metal percussion with cottonreeledmalletsand"斎 jaw"whichisbeatingmetalpercussionwithsticks,theyarehavingyin-yangcontrasts at all,and as the graphical score,it is sharing principle of compositionally at the plaiying this graphic,it is starting the circulation by balancing.

また、邦楽器のための図譜的五線譜(渡渡韻韻2011)(青渡絲韻2012)では 金属打楽器を伴う二面の十七絃箏による全体が
Also(DUDUYUNYUN 2011)(QINDUSIYUN2012)which is graphical symmetry in graphic idea in satff notation of live lines,it is construsted of TAWARAYA Sotatsu and yin-yang contrast,and the homage to Second Viennese School,accordingly,it is ruled in every parts,perfectly.

■演奏姿勢:立位×座位[風神雷神図構図]
■楽曲構成:左右対称×中心非対称
■金属構成:十二微分音×屈折音高微分音
■調絃:*明月楽(*鏡海調子)×東遊(*太平調子) *著者作よりの引用ならびに伝統調絃に基づく著者編作による調子

宗達光琳的対照ならびに陰陽的対照によって構成され、 かつ新ウィーン楽派讃として全体と細部が完全規定されています。
performance style:standing × sitting [from Fujin Raijin zu(image of the Wind and Thunder Gods)

(National Treasure) - Painted by Sotatsu TAWARAYA] compositional structure:bilateral symmetry × center asymmetry
metal instrumental elements:twelve micro tonnes × sliding up micro tones 17gen koto tuning:”Bright Moon Music(* miroring sea tuning)×
Azuma-asobi[ancient Japanese dance suite that originated in eastern Japan] (* great peace tuning)
*quatation from own tuning by composers and arrange mental tuning from based traditional tuning by composer.

*(青渡絲韻2012)の楽譜をご覧いただきます。
Please see the score of QINDUSIYUN.

*さらにBach:Cantataの冒頭を題名として漢語訳し、そこまでの全時間を集合習合統合総合として 多層化させた図譜的楽譜による室内管絃楽(如何美輝暁星2013) と
中国古代と日本現代における壮幼の平和希求の詩の翻訳交差による言語発語と身体発語を 共に中国に出自を持つ二奏者盲目のテノールとトロンボーンが電子音を伴う室内管絃楽に そこまでのすべての図形譜の調整された多層化によって集合習合統合総合融合させた (韻禱2014)を楽譜と共に聴いていただき、この身体と図譜についてを締めくくります。

*In addition,first synthetic chamber orchestra work"Wie Schön leuchtet der Morgenstern 2013",which is
rayered graphical scores with staff notations as the synthesis of gathering -syncretism -synthesis by various time structure for whole time until that time,and the title translated by composer to Chinese from the beginning of Bach Cantata,second synthetic mixed media chamber orchestral work"YUNDAO2014"which is rhymed prayer for trombone,tenor and chamber orchestra with electronics,language pronunciation and physical intonation mutual translation on the poems for longing moderated staffed notations in pitches as the synthesis of gathering- syncretism- unification - synthesis -fusion by various time understanding and graphical score".

ご清聴まことにありがとうございました。
Thank you so much for your attention.
(約7600字 &worklist aboutt 5000 words)

*中村典子全作品一覧
■中村典子 NAKMURA Noriko [Composition]
1965 Born in Shiga prefecture,Japan.
1987 Graduated from Kyoto City University of Arts [KCUA], faculty of Music
1990 Nov.-1991 Feb.as 1st exchange student in Hochschule füf Künste Bremen
1991 Received Master's degree from KCUA
1980-95 Studied under R.Hirose,M.Kitazume,S.Maeda,M.Fujishima,W.Tajima.H.J.Kauffmann (in Germany)and G.Amy(in Kyoto),and so on
1985- Own works have been introduced in the each places of the following fifteen countries,Japan,Korea,China,Taiwan,U.S.A,Mexico,
Germany,France,Italy,Swiss,Austria,Spain,Sweden,Norway,Israel..
■Awards & Scholarship
1987 Received Kyoto Music Association Award
1991 Received Master Course Prize for Graduated School of KCUA
1991 Received Grant from Rohm Foundation for Lecture about own work & Japanese Women Composers and Participation for Festivals
1997 Received 1st OGURA RISABURO Music Schorlarship for the reseach of western culture × eastern culture [Japanese and Korean folksong ,traditional dance & theatrical music]
2001 Received Kyoto City New Artist Award for recent international and domestic activity
2010 Received Shiga Prefectural Encouragement of Clutural Award for decade achivements
■Lecture & Forum
1991 Lectured about “Japanese Woman composers “and introduced own work atthe research centre of Musicology at Heidelberg University(Germany)
2001 Participated with Discussion Forum in Internatilnale Konponistiinnentage fuer Neue Music(Syke,Germany)
2011 Country Report in Asian Composers League Conference (Taipei,Taiwan)
2012 Moderated with composers in Japan,Korea,Hong Kong,Italy at symposium in "KOTO,present in Asia"[6 persons]
2013 Moderated with Korean,Korean-Japanese and Japanese composers and director[8 persons] at symposium in "Present of Orchestral Asia"
2014 Moderated with China,Taiwan,Hong Kong,Singapole,Italy,Germany and Japanese Composers[
■Selection
1997 Konzert deutsh-japanischer neuer Musik (Goethe Institut Kyoto Kansai,Japan)
2001 Artist-in-residence at Kunstlerinnenhof Die Höge(Syke,Germany)
2001 Konzert deutsh-japanischer neuer Musik (Goethe Institut Kyoto Kansai,Japan)
2001 Internationale Komponistinnentage für Neue Musik”(Syke,Germany)
2002 ISCM world Music Days JSCM New Century Music Festival(Yokohama,Japan)
2002 The 7th Evening of ACL・ISCM JFC Exchanges concert"2002(Seoul,Korea)
2002 The 25th ACL FORUM in Seoul Korea-Japan Exchange Concerts(Tokyo,Japan)
2009 Asian Paciific Contemporary Music Festival Seoul,Korea)
2011 Asian Composers League Conference & Festival (Taipei,Taiwan)
2012 Asian Composers League Conference & Festival (Tel.Aviv,Israel)
2013 Taegu International Contemporary Music Festival(Korea)
2014 Musicarama 2014(Hong Kokng,China)
■Members
1991-1996 lecturer of Kyoto City University of Arts,Faculty of Music
1995- The Japan Federation of Composers
1996- Japan Society for Contemporary Music
1996-2011 Full time lecturer of Kyoto City University of Arts, Faculty of Music.
1999-2002 Project Committee of Kyoto Art Center
2007- The Society for Research in Asiatic Music
2007- International Council for Traditional Music
2008- Steering committee of Kyoto Art Center
2011- Associate Professor of Kyoto City University of Arts,Faculty of Music
■Collections
1991 Woman Composers Library(Germany)
2010- Own works for Japanese traditional instruments collected in Library of Japan Traditional Music Research Centre in KCUA
2011- Own works collected in Library of Kyoto City University of Arts
2013- Own works collected in Collection of chamber music by women composers at Felicja Blumental Music Centre & Library. ■Publishers & CD DVD
Mother Earth Publishing The Japan Federation of Composers Studio FLORE Kuenstlerinnenhof Die Höge Internatioanl Humanity Association
Japan international league of Artist
■Thesis
Study of HIROSE Ryohei's Cello Concerto"悲triste”[Master Thesis of KCUA]
Study of HIROSE Ryohei's Cello Concerto"悲triste”[1] HARMONIA 28
Study of HIROSE Ryohei's Cello Concerto"悲triste”[2] HARMONIA 30
■Orchestral works:
1993 “la fonte di luce光之泉”per flauti orchestra [6 min.]
Study of HIROSE Ryohei's Cello Concerto "悲
2000 "Inner Lake内なる湖" for wind orchestra [17 min.]
2002 “Like a Water Ring水の輪のように” for flute orchestra [7 min.]
2007 “Ode to Sky and Lake 天湖頌” for flute orchestra [7 min.]
2009 .....goes in the river of light.....誰渡洸河” for 17gen & koto and string orchestra [10 min.]
2011 Sound for Crossing Voices on”SUZUKA MAGO UTA” 鈴鹿馬子歌による交聲譜 [5 min.]
2011 Concerto for Strings in East and West Voices 東西絃の協奏曲 [12 min.]
2011 Symphonic Concertante for percussion and 17gen koto and orchestra”郷sato-hyang-xiang” [12 min.]
2012 "水秘魚Segredo" la promesa bonita del cielo y un lago y un pez para la orquesta de la flauta [4 min.]
2013 "遥聲Voices from Sky and Ground" for flute solo and strings with cembalo [ 6 min.]
2013 "揺韻Vibrating Rhythm" for 25gen,koto.20gen,17gen and flute orchestra[ 12 min.]
2013 "如何美輝暁星Wie schön leuchtet der Morgenstern " für Kammerorchester [ 10 min]
2014”韻禱 YUNDAO rhymed prayer for trombone,tenor and chamber orchestra with electronics [12 min.]
2015”永九 yongjiu “ for coloratura soprano,mixed chorus,erhu,17gen-koto and orchestra with electronics [ 8 min.]
2015”眼天地耳 SKY EYES GROUND EARS” for marimba solo and percussion orchestra with electronics [ 15 min.]

■Ballet works
1994 Ballet “Sakura 櫻-Metamorphosis” [21 min.]female voice 2 violinists solo female ballet dancer 3 male ballet dancers 1995 Ballet “NOLI 律” [26 min.] female voice, pianoforte percussion solo female ballet dancer 3 male ballet dancers ■Theatrical works
1997-8 Trilogy "MANA” “HARU” “HANA” [Kyoto International Exchange Festival (Daitoku -jI temple) Kyoto International Music Festival (Kyoto Concert Hall) Art Festival KYO(The site of Meirin Elementary School)}[ 27 min.]unaccompanied coloratura soprano
2003 Five Winter Songs by Haiku of YOSA Buson 与謝蕪村の五つの冬の歌 [ 16 min.] [ Kyoto Art Center ]coloratura soprano, Noh slow dance
2008 Music Story ”GIN NO NAMI ODORU dancing silver waves 銀の波おどる” [ 19 min.]
[ Shiga Art Complex Creation Hall ] story telling percusiionist , violinist, singing 17gen & koto player
2010 Theater piece ”Ship of Life 生命の舟” [ 60 min.] [ Shiga Art complex Hall ]
flute & alto-flute player, 17gen & koto player5 percussionists 2 vocalists
electronics images dancers 2 child actors mezzo soprano counter tenor mixed chorus members
2011 Theater piece “The Oak Tree’s Story かしの木物語” [ 45 min.] [Nagahama Manisipal Shimo-Kusano Elementary School Gymnasium] r
ecitations group with percussion shinobue solo & sinobue ensemble 17-gen koto soprano solo mixed chorus audience flooring visual
2012 "Sand Prosody沙韻" for soprano,flute Shamisen and Strings [ 6 min.]
2012 "八月の光の祈りPrayer of the light of August "Light & Matrix 8×9 Sun & Moon [TMPP studio] 2 percusionists electronics lighting
solo dancers with light & percussion 4 dancers with light & percussion
2012 Light Opera "Jian zhen 鑑眞" [ 60 min.] [Haruta-san Jigen-in Saiho-ji Temple Main Hall ]
Dramatic Tenor Light Soprano Lyric Doramatic Tenor Lyric Soprano Lyric Doramatic Soprano Baritone Light Tenor Lyric Tenor
Flute & Alto Flute 17gen koto & koto Percussion Piano Strings
2013 Times' ring ときのわ" children's story with both music and text by composer [ 20 min.] [Kusatsu City Tokiwa Elementary School Gymnasium]
2014 mono olpera "時の輪” for flutist & narrator with percussion and yoshi-bue prayers with oboe [ 15 min.][ Mii-dera temple Nagara no Za Za]
■Chamber works
1989 "Noli律" foir female voce,pianoforte and percussion [24 min.]
1991 “Kasanuhi笠縫” for violin,viola and violoncello [18 min.]
1993 “Sakura櫻” for 2 violinists [12 min.]
1994 “Aqua閼伽” for pianist [15 min.]
1996-7 "Mure邑" for 3 marimbists [ 22 min.]
1997 “Naga” for marimbist [11 min.]
1998 “Kusa種” for 5 percussionists [ 13 min.]
1998 "Kata" for marimbist [ 5 min.]
2001 "Riverside lullaby" for guitar solo [ 4 min.]
2001 "朱雀抄Red sparrow's story" for harpist [ 8 min.]
2002 "県Agata " for flute solo [9 min.]
2007 "秦Hata" for oboe and piano [12 min.]
2007 "川のほとりのこもりうたRiverside lullaby" for toy piano [ 4 min.]
2007 "Kawa no hotori no komoriuta" for yoshibue esemble [4 min.]
2008 "廉太郎の花die Blüe der Rentaro " fuer zwei marimba mit zwei Spieler [ 10 min.]
2008 "りんごの朝の歌Alborada de la manzana " del la para el violin y piano [ 6 min.]
2009 "GANJIN WAY " for trombone and marimba [ 8 min.]
2010 "笠KASA Bach" for violin solo [ 6 min.]
2010 "草KUSA Bach" for violoncello solo [ 5 min.]
2010 "瀬SE Bach" for clarinet solo [ 5 min.]
2010 "玉TAMA Bach" for 17 gen koto solo [ 6 min.]
2010 "薙日Nagu-hi " for percussionist [10 min.]
2010 "HOKAHI乞" for percussionist and two partners [ 7 min.]
2010 "凛RlN" for solo percussionist and percussion dance player [ 10 min.]
2011 "遠聲譜Onjo-fu”for marimba solo and marimba ensemble [ 10 min.]
2012 "宙sola" for piano alone [ 6 min.]
2012 "つちのいのりPrayer from Ground" for contrabass solo [ 5 min.]
2012 "巴月照Eddy Moon Shining " for oboe solo [ 5 min.]
2012 "山月双Pairing Mountain and Moon " for fagotto solo [ 5 min.]
2012 "暁天Dawn Sky " for violin solo [ 7 min.]
2012 "地韻Magna Mater” for percussionist [ 6 min.]
2013 "雛翠baby green " for three keyboard harmonica[ 3 min.]
2013 "眞聲vox verum " for fagotto solo [ 6 min.]
2013 "雛鳥詞soul voice " for viola solo [ 6 min.]
2014 "眼天SKY EYES " for three cellos and two double bases [ 13 min.]
2014 "地耳GOUND EARS " for three cellos and double bases [ 10 min.]
2014 "眼天地耳 SKY EYES GROUND EARS"for marimba [12 min.]
2014 "斎zhai " for metal percussion solo [ 7 min.]
2015 “ 聲愈 audible” for soprano saxophone solo [ 6 min.]
■Vocal works
1995 "眞[愛]Mana" for coloratura soprano solo [ 9 min.]
1997 "張[春]Haru" for coloratura soprano solo [ 9 min.]
1998 "放[華]Hana" for coloratura soprano solo [9 min.]
2006 "禱Inoriいのり" for coloratura soprano solo [ 5 min.]
2007 "Riverside lullaby川のほとりのこもりうた" [ 3 min.]
2010 "UTSUKUSHII IMA美しい今" (Lyrics:HOSHINO Tomihiro)[ 3 min.]
2011"KASHINOKINOUTAかしの木のうた (TheOakTree)"(OriginalLyrics:NAKAMURANoriko)[3min.]
2011 Song of Light"光明の歌 for soprano,violin,cello and piano(Original Lyrics:NAKAMURA Noriko)[ 4 min.]
2012 "Akeshida あけしだ" for unaccompanied soprano solo [ 5"]
2014 "花FROLE" for voice and keyboard [ 8 min.]
2014 "夜色樓臺雪萬家 与謝蕪村聲十景Guardando a coprire neve per tutte le case in balcone notte con grande tetto
= YOSA Buson voce interiore di dieci paesaggi = [10"] ■Choral works
2014”韻禱 YUNDAOrhymedprayerfortrombone,tenorandchamberorchestrawithelectronics [12 min.]
2015”永九 yongjiu “ for coloratura soprano,mixed chorus,erhu,17gen-koto and orchestra with electronics [ 8 min.]
■Choral works
2003 "Nanohana ya Tsuki wa higashi ni Hi wa nishi ni" (Lyrics:YOSA Buson) 菜の花や月は東に日は西に[ 5 min.]
2003-4 "Four Seasons Songs of Buson" for unaccompanied mixed chorus(Lyric:YOSA Buson)[16 min.] 与謝蕪村の句による四 季のうた
2008 "Mimizuka no Okuno oku yori Mushi Shigure" (Lyrics:TAMORI Shizen) 耳塚の奥の奥より虫しぐれ[ 2 min.]
2006-10 "Cosmos Light Hug宇宙 光 抱容" (Lyrics:NAKAMURA Noriko) [ 6 min.]
2010 "川のほとりのこもりうたRiverside lullaby " [ 3 min.]
2010 "蕪村のまなざしBuson's eyes " for female chorus and 17 gen koto [15 min.]
2013 "行之家YUKINOYA " Requiem for citizen victims for mixed chorus [ 7 min.]
2014 "あざいのまなごAZAI no MANAGO"Cantata for chorus and orchestra [Text:NAKAMURA Noriko] [ 3 min.]
■Traditional instrumental works
1998クリタ KURITA for 2 koto [12 min.]
2001イモセ Imose for Shakuhachi and 20gen [ 9 min.]
2001 如月 for shakuhachi [ 13 min.]
2004 􏰁􏰂カガミ Kagami for Oboe and 20gen [ 10 min.]
2009 明月楽壱の巻 Bright Moon Music Vol.1for alto-flute and koto&17gen [ 9 min.]
2009 明月楽弐の巻 Bright Moon Music Vol.2 for koto&17gen with voice [ 9 min.]
2009 誰渡洸河...goes in the river of light...for 17gen & koto and string orchestra [ 9 min.]
2010 明月楽 参の巻 Bright Moon Music Vol.3 for cello and koto & 17gen [ 9 min.]
2010 明月楽 参の巻 Bright Moon Music Vol.4 for oboe and koto & 17gen [ 9 min.]
2010 玉 Bach for 17gen [ 6 min.]
2010 月下芙蓉 YUE XIA FU RONG for koto,high register instrument and low register instrument [ 12 min.]
2011 Sound for Crossing Voices on”SUZUKA MAGO UTA” 鈴鹿馬子歌による交聲譜 [5 min.]
2011 Concerto for Strings in East and West Voices 東西絃の協奏曲 [12 min.]
2011 渡渡韻韻 DUDUYUNYUN for 2 17gen koto with metal percussion [12 min.]
2011 蓮月心 for koto [ 6 min.]
2012 青渡絲韻 QINDUSIYUN for 2 17gen with metal percussion [ 12 min.]
2012 珠潭遺舟 Forgotten Boat in Peral Lake for biwa and 17 gen [ 12 min.]
2012 一輪の花 for koto [ 10 min.]
2013 伊福 inspirare for shakuhachi solo [ 6 min]
2013如何美輝暁星 Wie schön leuchtet der Morgenstern für Kammner Orchestrer [9 min.]
2014 韻禱 YUNDAO rhymed prayer for trombone,tenor and chamber orchestra with electronics [12 min.] 2014 光 Lumen, quod natum est LICHT for 25gen[12 min.]
2013 如何美輝暁星 Wie schön leuchtet der Morgenstern für Kammner Orchestrer [9 min.]
2014 韻禱 YUNDAO rhymed prayer for trombone,tenor and chamber orchestra with electronics [12 min.] 2014 光 Lumen, quod natum est LICHT for 25gen[12 min.]
■electronic music works
2012 連禱 litania for piano duet with electronics[5 min.]
2012 "八月の光の祈りPrayer of the light of August "Light 5& Matrix 8×9 Sun & Moon [TMPP studio] 2 percusionists electronics lighting [60 min.]
2014”韻禱 YUNDAOrhymedprayerfortrombone,tenorandchamberorchestrawithelectronics[12min.]
2014 "花如 quasi flos"for electronics [ 3 min.]
2015 “眞聲花如 vox verum quasi flos” for bassoon and electronics [11 min.]
■Additional
2012 80 anniversary memorial work by Japan Society for Contemporary Music
■Arrangement
2009瑶族舞曲Dance of the Yao People [5 min.]
2013-4 Credo六段 for string orchestra [ 6 min.]

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by n-nakamura226 | 2015-08-03 01:28 | Comments(0)